Just as they did at Marriott Theatre and now in an even more gloriously energetic production on the larger Paramount stage, Rachel Rockwell and Tammy Mader have added little twists and some innovative choreography (especially in “Shadow Waltz” number to make this production stand out without trying to re-invent this classic backstage tap show.
Hedda Gabler, by “the father of realism” is Henrik Ibsen’s 1891 drama. It is a tour de force performance by Kate Fry as the neurotic, spoiled and totally devious Hedda Tesman (formerly Gabler). Hedda Gabler is the story of Ibsen’s ultimate socialite, the daughter of a Norwegian aristocratic General.
I believe Phantom survives because of a combination of a hauntingly beautiful score sung well by the entire cast encased in fantastic sets, costumes, lights, sounds, falling chandeliers and pyrotechnics presented in a breathtakingly illuminating showcase. Quality control by producer Cameron Mackintosh demands that each production live up to the highest standard thus assuring audiences that of worthy entertainment. Phantom has all the extravagant trappings necessary for the spectacle that makes The Phantom of the Opera the phenomena it has become.
The play’s action comes to a complete halt when Brian and Sheila enact all the events as how Joe came into the world handicapped and what the couple did to try to get something done to help little Joe. In this series of enacted events, Vance Smith deftly and quite comically impersonated fastidious British doctors as well as a goofy German doctor. Smith demonstrated his versatile acting skills. His part is extremely over written but in Vance Smith’s hands Brian becomes a most impressive fellow. You’d be hard pressed to see a stronger acting performance. Smith makes his verbose character tolerable.
Solstice is one of those theatrical gems that needs a strong cast and a director with a focused vision (like Karen Kessler has here). It is a moving cautionary tale of what happens when violence and inequality separate folks from the same culture . It demonstrates how terrorist are made when intolerance invades a culture.
As problematic as the work’s premise is, I am confused by the tone. With the wildly over-played British accents and having women play males soldiers with an over-the-top manner and the prisoners, especially the women, I’m not sure if Our Country’s Good is suppose to be a comedy or a parody or a satire? But with so much cruelty toward the prisoners by most of the soldiers, it is hard to see the piece as more than melodrama.
The Lyric Opera of Chicago has mounted a most pleasing production of Puccini’s favorite opera—Madama Butterfly. Each time I see Butterfly live on stage. I am overwhelmed by the haunting and melodic score by Puccini. I can see why this is one of the most beloved operas of all-time. The sheer intensity and sweeping majesty of the Japanese set (design by Christopher Oram), in a new production, together with Puccini’s theatrical score made for a marvelous experience. Add the exquisite voice of Amanda Echalaz who deftly depicts Cio-Cio-San as the epitome of devotion,
hope and honor. Patricia Racette takes over the role of Cia-Cia-San for the January, 2014 dates and she received an enthusiastic standing ovation on January 11, 2014.
This landmark play (for 1934 audiences), The Children’s Hour, is a drama set in an all-girls boarding school run by two women, Karen Wright and Martha Dobie. An angry student, Mary Tilford, runs away from the school and to avoid being sent back she tells her grandmother that the two headmistresses are having a lesbian affair. The accusation proceeds to destroy the women’s careers, relationships and lives.
After a weak 136 performances on Broadway in 2012, the producers of Ghost The Musical are trying to recoup their investment via a national tour which is here at the Oriental Theatre until January 19, 2014. At $95 for the top ticket, with a non-Equity cast of players who are both inept singers and shallow actors, Ghost The Musical doesn’t deliver on most levels.
After skipping the last couple of years of the Annual Chicago Young Playwrights Festival, now in its 27th year, I was delighted to see what the today’s teens view of the world is in 2014. It turned into a mixed bag of theatre from a moralizing work to a chilling one to a comic one.